An experimental miniature that addresses the basic building blocks of film and dissects and explores the moving image and medium of film. The body is a painter's canvas, geometric figures are mise-en-scene, performance is a study of movement, masking and disguise.  A short film is composed of sequences constructed on the montage principle and synchronised with sound played from a separate source (tape recorder). The geometric constructions are alternated with images of the body (of the artist) that transforms himself and takes on different roles. Performativity and close-ups of the face, masking and eroticism, are predominant features of the film. (Source: DIVA) 

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The Casus Belli project unfolded as a series of live events and film or video recordings, manifesting as a succession of distinct artworks sharing the same title (1983). The first was a performance executed solely for the camera, resulting in a short Super 8mm film. This was followed by a public performance recorded in real time and simultaneously broadcast through the Škuc Gallery window for visitors who could not fit inside. Using documentary footage of this performance—supplemented by additional material and editing—the artist created an original video work. Next came a video performance at the 1st International Video Biennial "Video CD" in Ljubljana, where the video served as an integral component of the event: eight video cameras captured the artist’s movements from behind the screen and displayed them on monitors arranged around the venue's perimeter. The frontal, "representative" silhouette image projected onto the screen was thus counterpointed by the revelation of the artist’s flesh-and-blood body behind the screen; he eventually stepped out before the audience to perform a self-destructive act. The final iteration was a 9-channel video installation (featuring a 5-minute video loop) that the artist created for the exhibition Multimedia Practices and Production Venues at MSUM (Museum of Contemporary Art Metelkova, Ljubljana) in 2017. It was composed of earlier documentary material—recordings from the aforementioned projects sharing the same title "Casus Belli"(1983): a performance (Škuc Gallery, Disko FV), a video performance (1st International Video CD Biennial), and a Super 8 film (Škuc Production). 

(Source: Barbara Borčić: Race with Time: Performance and Video in the Rear-View Mirror, SCCA-Ljubljana, Theatre Museum/Institute, Ljubljana, 2014 – exhibition leaflet).